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ManagingIntercultural Competence inInternational Theatre Co-productions: CaseMentalFinland Karoliina Kuosmanen Master’s Thesis Sibelius Academy Arts Management Spring 2011 PL 86 00251 HELSINKI p 020 75390 ABSTRACT X Thesis Written work Title Number of pages ManagingIntercultural Competence inInternational Theatre 62 Co-productions: CaseMentalFinland Author Semester Karoliina Kuosmanen 2010-2011 Degree Programme Arts Management Programme option Arts Management Abstract An overall aim of this thesis is to examine intercultural management in the context of international co-productions of Finnish theaters In more detail, the study will contribute to the knowledge of intercultural competence in the theatre productions in the international arena The thesis will also provide some important practical insights on what are the challenges and opportunities ininternational co-productions I have chosen a case, which will give a good, in-depth and fresh look to the subject The case is MentalFinland by Smeds Ensemble This study is a qualitative research Moreover it is a case study The theoretical frame of this study consists of the theory of intercultural management to which closely belongs intercultural communication and intercultural competences The concept of co-production will be defined and the theory of international co-productions will be applied from the arts field This thesis will contribute towards providing best practices for arts managers in the theatre or in the wider field of performing arts who will want to work or are working on an international scale Keywords Finnish theatre, international, co-production, intercultural competence, intercultural management, case study, Mental Finland, qualitative research Additional information ACKNOWLEDGEMENTS I would like to thank Smeds Ensemble for their kind permission to allowing me to use their productionMentalFinland as my case study And special thanks to Eeva Bergroth and Ville Hyvönen, for their time and that they agreed to be interviewed - I got great data for my thesis I highly appreciate the Professor Tanja Vilén's help with my study The positive and constructive comments really helped me forward, and in the end abled me to finish this study I am grateful to my dear parents, Liisa and Vesa Kuosmanen who have supported me in many ways during my studies I also would like to thank my friends Terhi Väänänen, Tiina Jäppinen and Saara Wacklin for their encouragements and care As well as my colleague Eva Neklyaeva for inspiration and Tuomas Tirkkonen for technical assistance Table of Contents Introduction 1.1 Background 1.2 Research problem 1.3 Research objectives 1.4 Scope of the research 1.5 Research approach 1.6 Structure of the thesis Research Methodology 2.1 Qualitative Case Study Research 2.2 Implementing the interviews 2.3 Analyzing the data 11 2.4 Evaluation and critic about the research 12 Theoretical Framework of the Study 15 3.1 Defining Culture - Culture as mental software 15 3.1.1 Organizational culture 17 3.2 Intercultural management 19 3.2.1 Intercultural competence 20 3.2.2 Intercultural communication 22 3.2.3 Leading across cultures 26 3.3 International co-productions in the arts 28 3.3.1 International co-productions in Finnish theaters 30 3.3.2 The Finnish funding system inInternational Co-productions 31 3.3.3 Culture export versus cultural exchange .32 Analysis and Results 33 4.1 Case: MentalFinland .33 4.1.1 Brief history of Kristian Smeds .33 4.1.2 Smeds Ensemble 35 4.1.3 MentalFinland 36 4.2 Culture of MentalFinland 37 4.3 Competent International Arts Manager 39 4.4 Intercultural Communication inMentalFinland 40 4.5 Forms of International Co-productions .42 4.6 Financing International Co-productions .45 4.7 Culture export versus culture exchange 48 4.8 ManagingIntercultural Competence of Mental Finland: Challenges and Opportunities 50 Conclusions 54 References 60 Appendices .62 1 Introduction 1.1 Background Managers are willing to learn how to read their profit and loss statements but many of them tend to see intercultural relations as a minor part of their work However, intercultural competence is becoming more essential Nowadays intercultural competence is as important domestically as it is internationally and cannot be divided further to local and global contexts Intercultural competence and management is an increasingly vital but difficult area of investigation Generally defined, intercultural competence is the ability to function effectively in another culture The theme of cultural differences concerns anyone who meets people from outside his or her own circle; in today's world that means almost everybody The essence of intercultural management and intercultural competence is that management can operate in culturally different contexts Cultural differences can be particularly dramatic when comparisons are made across countries An overall aim of this thesis is to examine intercultural management in the context of international co-productions of Finnish theaters In more detail, the study will contribute to the knowledge of intercultural competence in the theatre productions in the international arena The thesis will also provide some important practical insights on what are the challenges and opportunities ininternational co-productions This study is meant particularly for managers who work in a global context, in multinational corporations and/or are related to trade, exchange, and export In earlier days we used to discuss about expatriates The idea is used more in the world of business and when the managers are located in different countries Intercultural management also offers something for managers whose companies have a diverse employee background I am especially interested in how intercultural management and intercultural competences relate to Finnish theatre field, more precisely to international co- productions in the field of Finnish theatre What should art managers and producers consider when they plan and implement international projects? And what kind of role this aspect plays when discussing long-term successful export or exchange projects and co-productions in the culture and arts sector? What are the skills that a leader, arts manager or producer needs to have in order to make international co-productions successful? Increasing globalization obligates the leaders and managers to prepare themselves and others for the challenges that lay ahead Central to this is the facilitation of capability and effectiveness within the context of global environments, and especially the ability to function in a diverse cultural context 1.2 Research problem This study will look particularly at what kind of international co-productions exist in the Finnish theatre scene First, there are not many of them that can really be defined as international co-production and furthermore very little has been written on the subject yet Hence my main research questions are: What are the main challenges and opportunities of Finnish international theatre coproductions and why? How was it funded and how to manage international coproductions from the intercultural point of view? I have chosen a case, which will give a good, in-depth and fresh look to the subject The case is MentalFinland by Smeds Ensemble I would argue that in future Finnish theatre can find its way to international markets through co-productions This is why I also analyze the Finnish cultural exports and cultural exchange terminology Primary importance is also given to the financing of co-productions, which is closely related to the mentioned debate previously 1.3 Research objectives This thesis will provide new information for managinginternational theatre coproductions and give guidelines to arts managers in the theatre or to the wider field of performing arts wishing to work or actually work on an international scale In the current discussion, there is a lot of debate about culture import and export, the new concept of former culture exchange How economical and longterm can the export projects really be? Is co-production the future form of (international) collaboration and internationalization? Is it even a new way of working? In regard to funding, is (international) co-production the only way for independent groups to make their way abroad? International cooperation has already been carried out for a long time in (Finnish) opera productions One reason for this is that opera as an art form has been more global longer, compared to theatre The same classic pieces are in every opera house, but this is not the case especially in the field of contemporary theatre And opera as an art form is also much more expensive than theatre Accordingly, it is financial considerations that have led the opera houses to cooperation this early 1.4 Scope of the research I have chosen to study a case: MentalFinland My first criteria was that I wanted the leading producer, management team, of the co-production to be Finnish, in order to get the Finnish arts management point of view for my study This further allows me to study particularly the existing Finnish funding system for international co-productions Second, I wanted to stay in the field of theatre since I would argue that when discussing international co-productions there are characteristics which define the production, compared e.g to dance and music Third, I wanted to study truly international co-production Meaning, the team would consist of many nationalities and the co-production partners would be from different countries As well as the co-production would consist of more than two (2) partners and it would be a genuine co-production This led me to find only one case from Finland which filled all my criteria A case study is a suitable way to study the chosen phenomenon since it allows gathering detailed and intensive information about a single caseCase studies are also the preferred strategy when “how” or “why” questions are being posed and when the focus is on a contemporary phenomenon within some real-life context As a research strategy a case study is commonly used in organizational and management studies 1.5 Research approach Co-production in performing arts, in particular theatre, has not been studied before In Finnish art field there is no really much documentation about it I have used as a reference Miia Lallukka's study about co-productions in opera, Finnish Theatre Information Centre's Theatre Export Strategy and a survey about Canadian international and domestic joint ventures in film industry My theoretical framework consists of intercultural management theory to which closely belongs intercultural competence and intercultural communication The concept of culture is defined by using Hofstede's Culture as software of mind theory As well as Bartlett and Davidsson's Global competence theory has been essential to this study 1.6 Structure of the thesis In chapter two (2) the research methodology used in this study will be presented This study is a qualitative research Moreover it is a case study The chapter presents the ways the data has been collected In further details this chapter describes how the interviews have been implemented and how the data has been analyzed As well as the critique and evaluation of the research will be discussed Chapter three (3) consists of the theoretical framework of this study At first, how is the concept of culture understood in this study, will be defined One of the main theories is Hofstede's culture as mental software The most important the theoretical frame of this study consists of the theory of intercultural management to which closely belongs intercultural communication and intercultural competences The concept of co-production will be defined and the theory of international co-productions will be applied from the arts field Chapter four (4) presents the analysis and results of this study In this chapter the caseMentalFinland is presented in-depth and in detail, line with the theoretical frame The chapter explores the key questions: What were the challenges and opportunities ininternational co-production Mental Finland? How was the culture and intercultural communication inMental Finland? How was the co-production financed and what were the forms of the co-production? Chapter five (5) summarizes the content of this study by stating conclusions and gives suggestions for further studies Research Methodology 2.1 Qualitative Case Study Research Research method consists of the ways in which observations are collected (Hirsjärvi et al 1997, 182) This research is qualitative and the data was collected through interviews In addition, documents which the case organization provided, both in paper and in electronic form, were used as research material This material provided additional information about the case organization and its functions as well as its strategies Also, the web sites of the case organization and articles about it have been part of the data I have analyzed and cannot be seen as separate from the study All in all I have gathered adequate information based on interviews and analysis of the web sites, articles and document I have done that in order to give a wide review of the challenges and opportunities of the chosen international co-production case Furthermore, I have used the material to give suggestions on how to overhaul the Finnish funding system and make the international co-production process easier by using the theoretical framework of the study Hirsjärvi et al (1997, 161) mention that in qualitative research the principle is to describe a real life In qualitative research the aim is to examine the object as thoroughly as possible Hirsjärvi et al (1997, 130) define case study as a form of research in which detailed, intensive information is collected about a single case or about inter-related small group of cases Usually the focus is on the processes The material is collected by using different methods Yin (1994, 1) states that case studies are the preferred strategy when “how” or “why” questions are being posed and when the focus is on a contemporary phenomenon within some real-life context Case studies are well suited to generating rather than testing hypothesis As a research strategy a case study is commonly used in organizational and management studies This research is a case study of one theatre/performing arts organization involved ininternational co-production: MentalFinland The main research questions studied are: What are the challenges and opportunities of this case and why, how was it funded 48 “So we did not actually know where the money came from It is very interesting We never complained obviously because we got the money but You can make things happen if you really want to and it made to me the Ministry work look very random and result of a huge lobby work There should definitely be some clarification Not to forget the question that why overall performing arts is in such a bad position in the whole process”, tell Bergroth In addition to the funds mentioned above, Smeds Ensemble received from the city of Helsinki a three (3) year Development Project Fund (Kehityshanketuki) for MentalFinland project and a grant from Alfred Kordelin Foundation Hyvönen adds up that though the funding was challenge, his observation is that it is also about taking the risk - and fortunately inMentalFinland the risk was worth it Though he must admit that from time to time it was stressful In his point of view, the grant system can make artists passive in a way that one first applies for a grant and if one does not get it, one does not the project Instead inMentalFinland they started the project and were applying the money at the same time Another observation that Hyvönen shares is that one has to be very active in the application process, communication is very much related to the financing Before applying one has to call or meet the person who is responsible of putting the application forward One should inquire what and how one should say in the application One should be communicative - lobby The advice is to make the project that one is doing transparent to the funders and get into dialogue Hyvönen thinks that this is one of the key questions He continues that manager needs to be very bold in asking the funds and persistent Most probably on the first time one asks the money from the officials they will say no One should not accept it but to keep on asking and giving arguments and defend ones project 4.7 Culture export versus culture exchange In Hyvönen’s opinion co-production is a good way to go abroad since it is not one way traffic only Hyvönen sees the concept of culture export an old fashion, kind of nationalistic idea that Finland would have some unique things and 49 should export them and get benefit from that Instead, co-production usually goes in both ways like exchange, one brings something, one takes something Hyvönen describes co-production with word “shared responsibility.” Considering those facts MentalFinland project was culture exchange project by nature “Of course you give something to the people you are with a longer time and it is a natural exchange, it is a give and take We learned something about Brazil because we had a Brazilian dancer and I mean you are always working with individuals but somehow you can learn from the people also and they perhaps learn something also It is two way traffic, if you bring something somewhere it means you want to gain something, you want the exchange to happen, and it has to go both ways”, describes Bergroth Eva Bergroth considers everything they in Smeds Ensemble as a cultural exchange Bergroth is questioning the whole culture export idea by saying that should culture at all be measured by economical standards? She thinks that performing arts will never be the factor that makes the GDP grow inFinland Maybe pop music can that, though even bands need touring funding, but at least they have other (mass) products like CD's and merchandises they can sell “Internationalization or export should not be self-value, there has to be some artistic value and to recognize that culture has an added value, which cannot be measured” argues Bergroth In Bergroth’s opinion if you are talking about export you are always talking about exchange, especially in the case of added value Hyvönen thinks that the Culture Export fund (Kärkihankkeet) is at the moment supporting products and formats, which is not how it should be in the creative industries, especially in the performing arts “Is there a point of financing such artist and groups who are already at the international market, they need to be exported”, Bergroth is asking In Hyvönen’s opinion the funds are now going to the multinational record companies, which should succeed by themselves since they are businesses Hyvönen sees another reason as well why there are 50 export grants in the music business, since the theater and performing arts people have not been active in asking and demanding Bergroth would also wish some kind of open fundamental discussion about the aims and purposes of the culture export Why are we exporting culture? Moreover the export criteria should be more transparent It should be also made more clear how to navigate between the different fund applications and be more outspoken and written that for what kind of project one can apply what kind of grant There should be clear definitions on what culture exchange is and what is culture export and exactly on what purpose is the grant meant for when applied As we know, currently the problem with the culture export funding is that the amount of the grant has been kept the same for a long time, and it is quite fuzzy During the last application period the applications were transformed from Ministry of Education and Culture to the Finnish Art’s Council Hyvönen is really hoping that there will come some development concerning the culture exchange grant On the other hand, Hyvönen wants to emphasize that if people and organizations want to culture exchange they should first actively make contacts and create opportunities Hyvönen has faith as well since things are still in process concerning these two funds and that there is a lack of dialogue He thinks that the term culture export fits when discussing about industrial design, films and music business, but it does not apply to the performing arts Bergroth thinks that most fruitful and successful funds are the ones for longer processes/period like residency or long-term tour funding For example, when a group would come to Finland it would not perform only in Helsinki “Compared to Holland or France where a created piece automatically tours at least nine cities and the whole tour is planned before you even have the creation”, tells Bergroth 4.8 ManagingIntercultural Competence of Mental Finland: Challenges and Opportunities Challenges inMentalFinland 51 • Long-term preparation and coordination In such a big production there are many things that need to be planned carefully beforehand The preparations will take at least two (2) years • The physical distance of partners and the amount of partners • Financing • Managing time tables when so many people are involved InMentalFinland almost 30 people were involved Especial attention was needed since there where people from so many different countries; 11 nationalities • When there are big organizations as partners (especially cultural capitals) it is difficult to find out who is in charge of what, who to contact or how their organizations function • Communication • Cultural differences - Hyvönen mentions both artistically and practically different working cultures He tells that inMentalFinland they had many kinds of clashes related to intercultural communication He adds that for him the differences are partly the thing that makes it interesting to this work Though he moreover recognizes that the clashes can be violent sometimes • It is also expensive to co-produce since the coordination costs can be high Also there are not many places which can afford a big production such as MentalFinland • Though all of the Smeds Ensemble people have a long history in the theatre and culture field, still it was the first time they did something on this scale and they were only three people It made them all very busy and in a way lonely since you not have a team to support you It might create oddness or mistrust towards new partners since they are only three people, it does not sound so official or professional • Hyvönen would put audience on the side of challenge and possibility, depending on which side of the coin you look at “In a way when you are doing a co-production you not really know what is the audience that you are facing or whom you are speaking to but it can be interesting as well”, says Hyvönen Since in his opinion theater is not anymore only something that is done for a community of spectators around oneself, nowadays often one does not know ones audience He also argues that people not go to theater 52 anymore because of loyalty but because they want to see for example an interesting direction Opportunities inMentalFinland • Artistic freedom - As Ville Hyvönen claims if one is doing a co-production (instead e.g freelancing) one will get part of the budget which also means that one can easily define with whom one wants to work with One will in a way get more power and share the responsibility than if one would be just visiting some venue Especially for Smeds Ensemble co-productions give more freedom to choose with whom they work with, how they work with (how to organize schedules, etc.) “The biggest thing for us inMentalFinland was that we wanted to bring the great Finnish actors, take them with us outside Finland and let them have this kind of experience Moreover to show people in other countries that we have very good actors We wanted to be the catalyst for this kind of exchange”, explains Hyvönen • Financing - Although financing is a challenge, through co-production opens new funding possibilities “If you have like couple of big festival which will support you and you produce; you create with that money and then you also have a platform to present your work so it opens of course new possibilities to work”, tells Bergroth • New contacts, new influences, able to be present at festivals, chance to meet colleagues - One can create and have/be part of the network of people These people in the network are important ones to spread the word; word of mouth, and give recommendations based on trust Through this new artists/groups get discovered One can create personal connections “It is very important to be present at festival or in theaters that have name”, summarizes Bergroth - Hyvönen sees that MentalFinland was a great opportunity, to be able to make new connections and to work with also surprising partners, the audiences and 53 theaters where they toured were all totally different Hyvönen argues that it is a value itself to meet all these people and see all these audiences and places • New audiences • New projects will be created, people find each other (also inside the group) “Personally at least, I not want to consider that this was just one production and when it is finished then that is the end We found lots of new interesting artists, people and places whom we want to work in the future Now it seems that is slowly happening it just takes time”, clarifies Hyvönen • Advantage for such a small organization as Smeds Ensemble to coproductions is that they can be very flexible and there is no hierarchy (or bureaucracy) There is in a way more freedom to what they want to and it is easier for a partner to know who is in charge of what and whom to contact Smeds Ensemble is easily movable group, and it does not cost much to move three people 54 Conclusions It is clear that MentalFinland was able to create its own culture In Hofstede’s (2005, 20) logic, as stated in the theoretical framework of this study, natural culture, particularly national societies, and mindsets are the ones that determines how people act inintercultural encounters I would argue that in the case of MentalFinland as Clausen (2006, 54-55) states, other factors such as values are also important and have in this case more impact on defining the intercultural counters, at least inside the Mental Finland's working group They were able to create a working process were the team was committed and united As it was seen in the case of Mental Finland, the national characteristics had an effect on some level to the intercultural communication But as Clausen (2006, 55-56) argues there is a risk that stereotypes oversimplify cultures and nations Moreover, what I see particularly applies to this case is that national characteristics not automatically describe characteristics in a business context, especially in the context of intercultural business I state again that art field, and particularly performing arts field, has special characteristics People work very much on value base and are often very aware of their "mental softwares" Peters and Waterman (1982) argue that in a small organization in which the founders and key leaders are at the heart of the organization their values shape much of the organization culture; this can be seen also in the case of MentalFinland It came out in the analysis and results, firstly Kristin Smeds has his very own characteristics style of working, secondly Smeds Ensemble has its very own organization culture based very much on values and how they want to work, third the emerging of 11 national cultures and different working cultures which created the very own MentalFinland culture, MentalFinland family, which were based on some shared and negotiated values As Soderberg, Holden, Brannen and Salk (2002) see that culture is understood to be negotiated and emerging, has MentalFinland negotiated its managing culture with its different partners based on contextual settings As Soderberg & Holdern (2002, 112) continue further about the organizational culture, they argue, from the social constructivist point of view, that culture is something which is mutually 55 constructed among participants and depended on a context InMentalFinland people have shared (at least partly) patterns of meanings and interpretations which are produced and continually reproduced As Soderberg, Holden, Brannen and Salk (2002) emphasize when dealing with culture and several contextual levels, the individual level of knowledge and accumulated personal experience inintercultural encounters is an important factor This can be seen also through the entire study from the interviews of Bergroth and Hyvönen I fully agree with Early and Ang (2003) that successful intercultural management depends on the manager's broad situational awareness of what is seen and heard in the minds of both parties Regarding intercultural competencies, many human relation skills that Bartlett & Davidsson (2003) listed came out also in the interview of Bergroth and Hyvönen These skills are crucial for competent international arts manager The self-awareness, what is strongly emphasized inintercultural competencies, is one of managers’ key competencies as well The set of cognitive, affective, and behavioral skills are the key to successful international management Clausen states (2006, 44-45) that communicating effectively is challenging even to managers who work with culturally homogenous workforce, so when colleagues speak another language and come from different cultural background communication becomes considerably more difficult and this was seen also in the case of MentalFinland Mostly this “loss of cultural signals” in the case of MentalFinland happened in the communication situations, exactly as in the example of Tobin (2009, 61) about Japanese and Western communication previously in the theory of this study One should not forget the communication towards different stakeholders even when one is executing daily tasks It is important to keep the discussion going on all the time with partners, working group and people who are involved In order to have more successful co-productions there needs to be more communication and dialogue between different people How to develop and take care of the intercultural communication? The list of Bartlett & Davidsson’s 56 (2003) basics that should be remembered is a good checklist In more general level based on this study, things to learn for the future: - Always have written contracts, even if there would be trust and some things might still be moving, at least with main partners - Have more time for the coordination, especially scheduling - Try to fix things already earlier, minimum one (1) year before the planned premiere - Make sure that there is a sure “yes” from different partners, from performance dates to the budget figures - Calculate budget according to the real situation and not with the ideal one, wishful thinking versus risk taking - More planned communication towards all stakeholders, financiers, partners, etc - More face-to-face meetings, especially the first planning meeting with all partners Hyvönen argues that the most important thing in the artistic process is that there is conversation Philosophical, why things are done, going on; people share ideas, ideologies, and values Hyvönen thinks such conversations are essential since the processes are quite abstract, even in a level of producing Highly important aspect which is related to the communication, financing and partnership is trust Bartlett & Davidsson (2003) say that trust is something that is built between people through long lasting relationships In the case of MentalFinland when forming the co-production there had to be trust between the partners and this was due to long-term personal relationship Yet, here again the values will play a significant part Since I argue that the co-production is less risky if the partners share the same values The model of how the theater is being produced inFinland is actually very different from what it is in many other European countries Most Finnish theaters, e.g Finnish National Theatre, run tight repertoires with lot of permanent actors This is one reason why the model of doing co-production is much more unknown inFinland than in most of the countries in Europe, where 57 it is more like a norm Many theaters in Europe produce some performances completely themselves, have some visiting groups and actually co-produce most of their productions A lot of capital or resources are involved in buildings which is sort of left over from the 60’s and 70’s when an effort was put into building the infrastructure of cultural organizations Once a good system has turned against itself Are we more keen on investing on properties and technology rather than for example on people’s salaries? Free theater groups instead of adopting the same model as city theaters should invent more suitable structures The biggest challenge why co-productions not to increase inFinland is that it is so difficult to find the gap between repertoires In order the Finnish funding structure would serve better the performing arts field and moreover theatre, the structure should be more flexible It should be able to react more quickly At the moment the structure is impossible already for the reason that one only has one application deadline per year “Sometimes it might happen that one is invited somewhere with very short notice, but there are no ways how to react We would need a new system of tour funding” argues Bergroth Most commonly the travel costs are the ones the organization needs compensation Currently there is tension between cultural and economic objectives There is a risk that when building a program that requires to be predominantly economic or cultural reduces its effectiveness in vice versa and the outcome does not help the whole art field to develop At the moment there is no funding for arts managers to create network and search opportunities, since the funds are allocated to ones who already have connections There is no support for the emerging artists and groups in order to develop The culture export funding increases the static positioning of arts, particularly performing arts As in renaissance there is only one leading artist who will carry the Finnish flag with him/her Different travel grants should be increased and the application period should be open Resident opportunities should be created more for performing arts and in all these the management portal should be noted Money should be allocated from these "top and high profile export projects" to projects which 58 actually are high quality and create cultural exchange and dialogue One of the main purposes of mobility and exchange during times has not been only trade but the exchange of information and knowledge, this seems to be lacking at the moment If there is no information exchange there will not be increase in competencies As it came out through this case the finance is a challenge and opportunity in co-productions, as it was in the survey of Hoskins, McFayden and Finn (1996) Financing takes a lot of time and resources The question for the future international co-productions is that how with the help of this case analysis they can manage to conduct a co-production where the finance is only on the side of opportunity As stated, the networking and being present in different international forums is crucial But instead of only creating opportunities for artists, how can art managers enhance cultural exchange and create co-production networks if they not have mobility opportunities? Also often the problem in the field of Finnish theatre is that the actors are so small For this reason it is significant to pull resources together by cooperating For further development it is critical to have examples of good practices and identify barriers In order to this there needs to be structures which support arts managers capacity building meaning scholarships and grants and funds for research in arts management field There should be an umbrella organization, such as Opera Europa, which would promote co-productions among its members and facilitate seminars on the subjects in which members can create best practices of co-productions We are lacking a forums where to discuss and develop co-productions I also suggest that a co-production workbook should be written It would help to make better co-productions, start them and to encourage further discussion about them Could this kind of online database be built also for theatre and performing arts producers and managers concerning the international co-productions? This study can later work as “best-practices” for managers who will work in the context of intercultural management, international co-productions and culture exchange in performing arts A case study is excellent way to describe processes and share knowledge There are few Finnish managers who have a lot of tacit knowledge, experienced and competent people who work or have worked 59 internationally As stated previously in this study the question is how we manage that tacit knowledge when it is fragmented and how we implement and share all the knowledge that these people possess? This study was one step forward in the practice of collecting relevant data from the relevant people, and further analyzing and documenting that For further studies I suggest collecting more interview data from different arts managers who have done co-productions in the performing arts field or wider in the arts field Another further study could be foreign market exploration, market mapping, from different and new countries to find out suitable future co-producers in order to widen market and audience base It is noted that in order to develop the Finnish arts management field there is future generation who is competent enough to work and international co-productions and culture exchange it is crucial that there is continuation of sharing this tacit knowledge which will be gathered and documented, and that there will come best-practices which are shared on the field Finland is small country and there are not many managers working in the performing arts field Instead of competition, cooperation should be internationalization Kristian Smeds: “Teatteri on tahtotila” the key word when discussion 60 References Alasuutari, Pertti 1999 Laadullinen tutkimus uudistettu painos Vastapaino, Tampere Bartlett, Catherine & Davidsson, Aira, 2003 Improve Your Global Competence Multikustannus / Multiprint Oy, Helsinki Clausen, Lisbeth 2006 Intercultural Organizational Communication Five Corporate Cases in Japan Copenhagen Business School Press, Gylling Eskola, Jari & Suoranta, Juha 2005 Johdatus laadulliseen tutkimukseen painos Vastapaino Tampere Hirsjärvi, Sirkka & Hurme, Helena 2000 Tutkimushaastattelu: Teemahaastattelun teoria ja käytäntö Yliopistopaino, Helsinki Hirsjärvi, Sirkka & Remes, Pirkko & Sajavaara, Paula 1997 Tutki ja kirjoita painos Kirjayhtymä Oy Helsinki Hofstede, Geert & Hofstede G Jan 1991 Culture and organizations: Software of the mind McGraw-Hill, London Lallukka, Miia 2008 Are co-productions opera companies essential surviving techniques combating their increasing income-gap problem? Thesis, SibeliusAcademy Helsinki Moodian, Michael A., editor 2009 Contemporary leadership and intercultural competence Exploring the Cross-Cultural Dynamics Within Organizations SAGE Publications, Inc., California Yin, Robert K 1994 Case study research: design and methods painos Applied Social Research Methods Series Volume Sage Publications, Inc California 61 Finnish Theatre Across Borders Annukka Ruuskanen 2007 The Whole of Europe is Kristian Theatre Home Finnish Theatre Information Centre, Helsinki Hoskins, Colin, Stuart McFadyen, and Adam Finn 1996 “A Comparison of Domestic and International Joint Ventures in Television Program and Feature Film Production.” Canadian Journal of Communication Vol 21, No Teatterin vientistrategia 2007-2012 Teatterin tiedotuskeskus MentalFinland http://www.mentalfinland.com/blog/ accessed on 19.5.2010 Smeds Ensemble http://www.smedsensemble.fi/blog/ accessed on 19.5.2010 Ministry of Education and Culture http://www.minedu.fi/OPM/Kulttuuri/kulttuurivienti/?lang=en accessed on 13.7.2010 Taiteen keskustoimikunta http://www.taiteenkeskustoimikunta.fi/default.htm accessed on 13.7.2010 Interviews: Eva Bergroth (May 21st, 2010) Ville Hyvönen (June 11th, 2010) 62 Appendices Production credits: MentalFinland Direction and script: Kristian Smeds Video design: Ville Hyvönen Choreography: Ari Numminen Scenography: Juraté Paulekaité Technical direction and light design: Gérard Maraite Sound design: David Simeon Lipp & Thomas Binder-Reisinger Dramaturgi: Ivo Kuyl Performance: Juhan Ulfsak, Kalle Holmberg, Eva Klemets, Tarja Heinula, Tommi Korpela, Hannu-Pekka Björkman and Janne Reinikainen Dance: Eleonore Valère, Milton Paulo, Domenico Giustino, Milla Koistinen, Stefan Baier and Ana Cristina Velasquez Choreographer’s assistance: Laura Lee Kamppila Director’s assistance and subtitling: Reeta Tuoresmäki Technical production management: Jean Schols Sound: Steven Lorie Light: Dimi Stuyven Camera: Lennart Laberenz and Margareta Andersen Set building: Petri Tuhkanen, Jonathan Kyöttinen, Silver Zombie, Simona Bieksaite, Jegi Pekkala and Mykolas Budraitis Video software: Pauli Ojala Atelier costumes KVS: Claudine Bogemans and Nicole Bynens Tutu’s: Ihanus and Anneli Partanen Props manager and carpenter: Willy Van Barel Carpenter: Jimmy De Boelpaep Subtitling assistance: Inge Floré Producer (Smeds Ensemble): Eeva Bergroth Project coordination (KVS): Nicole Petit [...]... production companies are working together In the case of an international co- production, production companies from different countries, typically two to three, are working together 29 A survey conducted by Hoskins, McFadyen and Finn (1996) about Canadian international and domestic joint ventures identified the following benefits and cost of international co- productions: Benefits of international co- production. .. percent of the production costs From the economical point of view co- productions are a cost-effective way to produce opera The most common reasons for creating co- productions are to save money and to save resources, but there are also some artistic reasons for collaborations 3.3.1 International co- productions in Finnish theaters Finnish theatre field is slowly but surely becoming more international. .. meaning For example the study of intercultural organizational communication which researched five corporate cases in Japan suggests that managers who work in intercultural business settings have developed special competencies in intercultural communication The competence they have developed almost the intuitive skill of reflecting on both cultures in their strategy formulation They understand the business... opera field a genuine co- production is defined "a collaboration where all parties are involved from the beginning" (Lallukka 2008, 28) And no other kind of collaboration should be called co- production Often the planning of coproduction starts between two parties and then they possibly both try to find other partners For example in a film production a co- production usually refers to a production where... reading profit and loss statements However, intercultural competence is becoming more and more important While much of the past research has been divided into global and local context, the trend is towards recognizing that intercultural competence is equally vital domestically and internationally In the past to the “expatriates” have been given the greatest attention in the international business context... Confidence builder Intelligent Administrative skilled Just Plans ahead Dynamic Motivational Decisive Communicative Coordinator Honest Encouraging Motive arouser Dependable Effective bargainer Informed Team builder Excellence oriented Win-win problem solver 3.3 International co- productions in the arts Whilst there is no single formula for co- production – it is a broad and flexible approach - still co- production. .. and television industry in each country, such as government financial assistance In my opinion in theatre in many cases the artistic goals and new ways of doing theatre are also the main reasons to cooperate 30 Although a co- production agreement may make available more resources, there is a risk in an internationalproduction being less relevant to its target audiences than purely local productions This... and shooting costs • Increased costs of dealing with government • Loss of control and cultural specificity • Opportunistic behavior by production partners The authors identified financial pooling as the most important benefit and increased coordination costs as the greatest drawback This suggests that coproduction is more suited to larger budget productions, primarily film productions in this case, which... characteristics in business contexts, especially in the case of intercultural business context c) it provides a static approach, often without a context (how perceptions and environments change over time) (Clausen 2006, 55-56) Countering that position, other researchers such as Soderberg, Holden, Brannen and Salk (2002) see culture as a collective and relational construct that is continuously being redefined in. .. still co- production often requires fundamental partnership In this study when discussing co- production it is not referring to rented or bought productions, but it achieves to study more a genuine form of co- productions Though, what needs to be noticed that even inside a genuine co- production when there are more than two parties involved there can be found different level and types of co- productions In opera